Jo Davidson, Sculptor, 1937

Hermon Atkins MacNeil,  ~1934

Hermon MacNeil 

and Jo Davidson

1912   –   1929

 MacNeil Month ~ ~ Story #3   ~ ~ ~ ~

Feb. 2021 ~ “Two Careers”

BY 1912 JO DAVIDISON and HERMON MacNEIL

were parting ways artistically.

Hermon MacNeil continued making Historical Subjects, World’s Fairs, and Monuments as he had for 20 years (1893-1912). 

[ Photos and hot-links to MORE MacNeil works appear at the end of this post …⇓ ]

Jo Davidson after a decade of searching  and wandering, to fulfill some inner talent,

he discovered his “Sculptor Within.” 

 Review:        Jo  made repeated attempts (1903-7) at studying the “Beaux Arts” style at the Art Students League of New York, learning it “hands-on” in the MacNeil Studio with John Gregory, and Henri Crenier (and all their teasing), under the quiet tutelage of Hermon MacNeil.    Then actually traveling to Paris without scholarship or support to enroll in the actual  Ecole des Beaux-Arts.  

BUT … LEAVING THERE after 3 weeks because he sensed that Beaux Arts was training him to sculpt “Antiquities”    WHEN he wanted to “SCULPT LIFE.”

Jo Davidson

In 1909 before coming back to New York City, Jo married Yvonne de Kerstrat, a French actress and sister of an artist friend, Louis de Kerstrat.  Their son Jacques was born the next year.

The next several years were very productive for the sculptor.  His figural works included a bronze statuette of Ida Rubinstein and an eight-foot bronze La Terre. 

ONE-MAN SHOWS X 3.    In 1911 Jo began presenting one-man shows.  The first opened in the New York in April, then a second more successful one at Reinhardt Galleries in Chicago in November.  This included twenty portraits and twenty figures.  A third show in New York opened in January 1913 with twenty-two figural works and fifteen portraits.  With this growing success in both reputation and finances, Jo could now keep two studios — one in New York and another in Paris. 

69th Regiment Armory on Lexington Ave. on-street parking New York City

The Armory Show 1913

Also in 1913, Davidson exhibited in the Armory Show, also known as The International Exhibition of Modern Art.  This three-city exhibition started in New York City’s 69th Regiment Armory on Lexington Ave.  From there it traveled to the Art Institute of Chicago and next to Boston’s Copley Society.  

Walt Kuhn, American painter, and a friend of Jo Davidson, was an organizer of the famous Armory Show which was America’s first large-scale introduction to European Modernism in Art.  Working with Arthur B. Davies and Walter Pach, Kuhn spent a year, much of it in Europe assembling a collection The exhibition traveled to New York City, Chicago, and Boston and was seen by approximately 300,000 Americans. Of the 1,600 works included in the show, about one-third were European, and attention became focused on them. The selection was almost a history of European Modernism.[https://www.britannica.com/event/Armory-Show-art-show-New-York-City#ref126367]

“Kuhn and Davies had both studied in Europe and developed a strong appreciation for the groundbreaking developments that were taking place there, particularly in Paris. Both also had ambitious dreams of altering the very fabric of American art and culture. The pair would be particularly instrumental in bringing a display of European art to U.S. shores—the likes of which most Americans had never seen before. With the same sprawling exhibition, they would also provide an opportunity for American artists that they had found so lacking in their own careers.”  [ https://www.artsy.net/article/artsy-editorial-1913-armory-dispelled-belief-good-art-beautiful ]

The show’s sponsor, the Association of American Painters and Sculptors developed in 1911 with the aim of finding suitable exhibition space for young artists.  They found  ideals and policies of the National Academy of Design too restrictive to innovation.  The show introduced the American public accustomed to realistic art to the experimental styles sweeping Paris, namely, Fauvism, Cubism, and Futurism.  But most Americans arrived  expecting “real art,” namely, the “realistic” representations of the renaissance masters.  To these viewers the show was a puzzlement.  Observers responded with confusion, shock, or even anger at this “satire” of “real art.” 

Jo Davidson and the Armory Show.

The Armory show was labeled many things by American art critics.   Frank J. Mather argued that “Post-Impressionism is merely the “harbinger of universal anarchy.”  [1]   It overwhelmed American isolationism with an artistic invasion of a strange avant garde army of artists.  So to most Americans it was a puzzlement both in appearance and reporting afterward.  They came expecting “real art,” as “realistic” as the renaissance masters.  That was Art!  But “This?”  “What is this?”  Observers responded with confusion, shock, anger, and harsh words at this “satire” of “real art.” 

The 1913 Armory Show The International Exhibition of Modern Art opened on February 17, 1913 at the 69th Regiment Armory on Lexington Avenue. The Armory Show—as it came to be known—had an immediate and profound influence, introducing the avant-garde to America and forever altering the narrative of Modernism in America. Photograph by Percy Rainford, courtesy of Bettmann/Corbis. SOURCE: https://www.thearmoryshow.com/armory-25/one-fair-one-city ON 2-6-2021

Jo Davidson was no stranger to European Modernism. Such experiences of “the unconventional” were part of his strolls of Paris with Sultan by his side.  He loved his years on the Left Bank. This Bohemian world of the avant garde enlivened him.  It pleased and excited his imagination  Such images must have powered his search for that illusive “sculptor within.”  His search had gone on for over a decade. 

Davidson’s Impact: Jo Davidson appreciated this work, but was hardly a Modernist in his own creativity.   Yet he seemed to affect the Armory show in at least two ways:

1. Walt Kuhn appreciated Jo Davidson works. He placed them cleverly throughout the display.  As such, they became benchmarks of understandable art next to some of the more unusual Modernist pieces.  “The artists who created them might know what they intended, but most of them weren’t there and many who were [there] were too shy or found talking too difficult.” ² Each of Jo’s portrait busts and figures became an oasis of “real” sculpture in the confusing landscape of Modern Art.  Confused and puzzled viewers could wander the foreign art territory of the Armory Show and find occasional respite at a “Davidson” work of art. 
2. In addition, Jo Davidson himself became an occasional ‘Docent’ at the Armory Show.  Lois Kuhn in her children’s biography of Davidson captures an anecdotal explanation that conveys the essence of Jo to her audience:  “Jo often visited the armory show himself and could easily explain to others not only his own work, but that of those artists unable to speak for themselves.  What a man with words Jo was!  Lois Kuhn offers this humorous ‘possible’ vignette to her young readers:

• “Its outrageous.” a man protested, looking hard at one of the paintings.  “Whoever heard of ‘pink’ grass?“
• Jo chuckled.  “But you knew it was grass, didn’t you, sir?  It never once occurred to you that it wasn’t anything else, now did it?”
• The man frowned.  “Well I don’t care.  I don’t like the darn thing anyway!”
• “Nobody said you had to like it, sir, but if you dislike it, why not dislike it with a reason?”  Jo thought for a moment, then asked, “Have you ever noticed what colors the shadows on the snow are?”
• The viewer was silent.  He was trying hard to remember.  Jo knew the man had probably never before bothered to think about such an ordinary thing, although he must have seen it hundreds of times.  “No I don’t think I have,” the man admitted, “Do you know?”
• “They’re purple!  The artist looks and sees them so.  But so can you!  Or anyone else.  Just notice next time it snows.  Then try to think how it would be if the artist painted snow, making the shadows green.  You’d still know they were shadows, wouldn’t you?”
• “Okay, you win!” the man sighed.  I see your point and you are right!”  He smiled, began to turn away, but suddenly turned back and winked at Jo.  “You know,”  he said strongly, “if more artists could explain things as you do, maybe plain people like me wouldn’t have so darn much trouble trying to find out what they’re up to!”
• Jo grinned back.  He was happy knowing just one more person would be able to look at a piece of art and try really to understand it.”  ²
  

infrared landscapes by richard mosse at the 2013 Armory Show. CREDIT: ‘platon, north kivu, eastern congo’, 2012all images courtesy jack shainman gallery.

Note: PINK GRASS at the 2013 Armory Show ~~~ Irish photographer Richard Mosse is celebrated for his striking imagery of eastern congo, and presents ‘infrared landscapes’ at the Armory Show in New York 100 years later from the 7-10 March, 2013.  “The photographs are full and rich – the arresting deep reds and crimson hues, candy floss trees and savanna grasses aflame with color. all these surreal elements created through a combination of an obsolete wooden field camera and a rare technique produced by kodak aerochrome, a product developed for military use in the detection of aerial bombing targets. in the late 1960s, the medium was appropriated in artwork for rock musicians like the grateful dead or jimi hendrix, setting the tone for the sublime psychedelic aesthetic of the time.”

Jo Davidson revels in “PORTRAIT BUST-ing” 

By the end of 1913 Davidson had done more than thirty portrait busts. He had a reputation for being “fast” and “good” at that craft.  The Davidson’s returned to France, with a second son, Jean, and found a house in Céret, which is near the border with Spain about 20 miles from the Mediterranean Sea.  His wife’s brother Louis de Kerstrat had purchased a small house there. More importantly, growing  reputation of Céret was as  “the refuge of Picasso, Matisse, Soutine and Chagall”   It would eventually be known as “the Mecca of the Cubists.” Moving there he met Picasso and Aristide Maillol.  Soon Jo was off to London which presented a wealth of opportunities for making portraits of notables. 

LORD NORTHCLIFFE 1913 by Jo Davidson. “Between …” p.54b.

“Portrait became an obsession. Meeting and knowing people meant becoming acquainted with their thinking.” Jo Davidson

From a studio in Thackery House he roved cafes, bars, watering holes seeing and being seen by journalists, authors, and celebrities.  His 1914 exhibition at Leicester Galleries included busts of newspaper mogul Lord Northcliffe, Frank and Nell Harris, and George Bernard Shaw.

 THE TASTE OF WAR 

When WWI broke out, Davidson wanted a place in the effort and through Lord Northcliffe was appointed an artist-correspondent to accompany veteran correspondent George Lynch.  The first went to Ostend, Belgium on the English Channel finding a “dead city.”  They went on east to Ghent climbing 194 steps in a church tower observing the battle of Grenberegen nearly 15 miles distant.  He didn’t enjoy it! 

Jo Davidison’s LIBERTY BONDS poster- THE GUT PUNCH.

He later tried to make sketches but without enthusiasm.  At an ambulance he met doctors and nurses who spoke no French and he was called over to translate.  He received word that their hotel in Ostend had been bombed and destroyed the day they left. 

The Germans were advancing and the British were retreating.  He saw a priest comforting a soldier with open severe facial wounds.  On the road back to Ostend he passed carts filled with old women, children and babies. People carrying pots and pans, a goat, a mattress, a chair, something they could not part with.  “War” was no longer just a word in the history books.

Heartsick, Jo returned to London wanting to do something in clay to express what he saw in France.  Samuel Taylor Coleridge wrote three lines:

FRANCE AROUSED 1914 by Jo Davidson. [Between… p 86a.]

“When France in wrath her giant – limbs upreared, 

And with that oath, which smote air, earth, and sea,

Stamped her strong foot and said she would be free.”

Samuel Taylor Coleridge

The result for Jo was “France Aroused.”

“It was a figure of Bellona,

the goddess of War,

with her feet squarely planted on the on the ground,

her arms upraised, fists clenched,

and her head thrown back —

a cry of rage and protest.”  [

Between …, p.11.]

 RETURNING TO Céret  — His Home was converted to a HOSPITAL  

On May 26, 1915, Yvonne offered their home in Céret as an auxiliary hospital, Bénévole No. 62 with 40 beds, two nurses and Yvonne in charge.  She was up at five A.M. and when all retired would pour over the books in the wee hours.  Their five-year-old son, Jacques, dressed in the uniform of a Chasseur Alpin presided at the head of the evening dinner table in a black baret the Apline hunters.

In 1916 Davidson returned to New York exhibiting fifty-five sculptures and war drawings at Reinhardt Galleries and in June modeled President Wilson.  He began to realize the historical value of his collection of works.  When the United States entered the War in 1917 Davidson decided to make a “plastic history” by modeling portraits of Allied civil and militrary chiefs.  So we left for France with funding from Gertrude Whitney and letters of reference from previous subjects.  The result — The Peace Conference Series — fourteen portraits of including General John J. Pershing (1918), Marshal Ferdinand Foch (1918), who signed his portrait beginning a tradition that Jo continued, Lord Arthur Balfour (1919), George Clemenceau (1920). 

1923 – Gertrude Stein  and Jo had met in 1909. He assessed that a head of her was not enough.  He decided  to do a seated figure — “a sort of a modern Buddha.” [Between …, 174-7.]

“Gertrude was a very rich personality.  Her wit and her laughter were contagfious.  She loved good food and served it.  While I was doing her portrait,  She would come around my studio with a manuscript  and read it aloud. The extraordinary part of it was that, as she read, I never felt any sense of mystification.  ‘A rose is a rose is a rose,’ she took on a different meaning with each inflection.  When she read aloud got the humor of it. We both laughed, and her laughter was something to hear.  There was an eternal quality about her — she somehow symbolized wisdom.”

 John D. Rockefeller 1924 

The only person Jo Davidson ever wrote to requesting to do a portrait bust was John D. Rockefeller.  One month later he received a Letter from his son, John D. Rockefeller, Jr. containing several questions. 

Jo Davidson and John D. Rockefeller modeling his portrait

Several days later John D, Jr. visited the studio with more questions and discussed all details of the venture.  A truck arrived carrying all of Davidson’s studio equipment to the Rockefeller Estate in Tarrytown, north of the city. 

On their meeting Rockefeller told Jo, “Davis … Davison … Davidson.”  The first was his secretary’s name, the second his own middle name, and finally Jo’s last name.  Rockefeller voiced the ironic trilogy and his usual “A-ll good.”  After meeting his new subject, Davidson, Jo entered into the daily routine and was invited to stay as a house guest rather that commute by train daily.  Jo’s descriptions of his time with the family patriarch and his storytelling are as illuminating as his sculpting.

When Jo finished, Rockefeller invited all the house staff to come in and see his fresh likeness.  “Come __ in,” he said.  “Take__ your__ time. Have a good look at it__ yes? A-ll good. Thank You.”

The son, John D. Jr., liked the finished bust so much that he  commissioned Jo to execute it in marble, and also to make a colossal head in stone to be put in the Standard Oil Building. 

1927 Pioneer Woman ~ Ponca City, OK ~ E.W. Marland

A reunion for Hermon and Jo and John Gregory.

CONFIDENT – The winning PIONEER WOMAN by Bryant Baker 

TRUSTING (1927) by Jo Davidson

CHALLENGING. 1927. Hermon MacNeil

SELF RELIANT by A. Stirling Calder

In 1927 wealthy oilman E. W. Marland of Ponca City, Oklahoma invited a dozen American sculptors to compete for a commission to create a statue to honor the Pioneer Woman.  Each artist was to submit a two-foot bronze model for the monument, which was to express, in Marland’s words, “the spirit of the pioneer woman—a tribute to all women of the sunbonnet everywhere.”  

PROTECTIVE by John Gregory

Marland’s selection of that dozen sculptors became something of a reunion for Jo Davidson^[1] and Hermon MacNeil  and John Gregory (an earlier assistant with Davidson in MacNeil’s studio). Others invited were invited included  James Earle Fraser, Bryant Baker, and A. Stirling Calder.  Each of the dozen were paid $10,000 to produce a bronze two-foot statue model with the winner to be determined by public vote.

The models were sent on a six-month tour of several U.S. cities, from New York and Boston to Minneapolis and Fort Worth and Chicago. Tens of thousands of ballots were cast, and Baker’s model “Confident” won by a margin of nearly two to one. Neither MacNeil or his two previous students won the commission.

Bryant Baker’s entry won the final comission by a wide margin of ballots.  Each artist submitted a two-foot bronze model for the monument, which was to express, in Marland’s words, “the spirit of the pioneer woman—a tribute to all women of the sunbonnet everywhere.”

JO DAVIDSON STRIKES OIL

Jo Davidson charmed E. W. Marland so that he built a permanent studio for the sculptor in Ponca City.  Jo declined moving there permanently, but did spent weeks there completing statues of E. W., his daughter, Lyde standing holding a large garden bonnet; and son, George, in boots and riding breeches.  He also carved a seated  figure of E.W. Marland in marble which remains outside the museum a century later.

After completing the sculptures, E. W. Marland took Jo on a trip to California and back to New York in his private railroad car the “Ponca City.”  Jo wrote letters to Yvonne during the two-week excursion.  Jo met E. W.’s friends, and E.W. met Jo’s friends.  “The Trip, one of the richest experiences of my life, eventually was over, and I set out for Europe where political developments were moving at a rapid pace.”  [Between …, pp. 210-220.] 

Hermon Atkins MacNeil

“Monument Man” 

  Photos of  his works from 1912 to 1929  

Hot Links to MacNeil Sculptures follow …

“Into the Unknown” by H. A. MacNeil ( white marble, 1912) became the ‘seal’ image for the National Sculpture Society.

MacNeil’s “Lincoln Lawyer” At the Rushville, Illinois Public Library.

“Dwight L. Moody” bust by Hermon A. MacNeil. Northfield Mount Hermon School in Massachusetts

The tradition of touching Lincoln’s nose for “good luck” has passed on to another generation of Illini students since the restoration.

Ezra Cornell statue at Cornell University, Ithaca, NY was dedicated in 1918 after WWI.

“Dwight L. Moody” 1920 – A bust by Hermon Atkins MacNeil now graces the campus of Northfield Mount Hermon academy in Massachusetts. The school is a merger of the two separate academies (one for girls and one for boys) that Moody founded in 1879 and 1881

1916 Photo of the installation of the MacNeil statue. Thia appears to have the statue sitting in the right hand leg of the Arch. The left leg is where it was permanently installed. This photo was salvaged from a NYC flea market by John Gomez and used with his permission Credit: John Gomez, NYC.

Behind the scenes MacNeil’s likeness of General Washington guarded the rear flanks of the rally

“George Washington as Commander-in Chief” ~ A recent photo of this MacNeil work that has graced the Washington Arch in Greenwich Village for the last 96 years.

Jim Haas, author and College Point native, sent this Philadelphia shot of Hermon MacNeil’s Soldiers and Sailors Monument on the Benjamin Franklin Parkway. That is a rare shot of Jim himself, taken by Lynne, his director of public relations. : ) Jim is a Friend of HermonAtkinsMacNeil.com and a generous researcher for the website.

Philadelphia – Hermon MacNeil – Soldiers And Sailors Monument Sailors side – Being photographed by Dan Leininger, webmaster).

A studio B&W photo of MacNeil’s “WWI Monument” placed at Flushing, NY. This photo was found by John Gomez in a file of papers at a Manhattan flea market on June 9, 2012, nearly 87 years after the statue was made.

A visit to Illinois last week included a stop at the Abe Lincoln bust at Spurlock Museum at U of I. The sculpture will no longer be viewable in-the-round after being returned to its permanent home in the sparklingly-restored Lincoln Hall on campus.

Hearmon A. MacNeil’s “Lincoln Lawyer” at the University of Illinois

Hermon MacNeil include this sculpture of the ‘original telegraph’ into his tribute to Erza Cornell in 1917.

July 21, 2011. The restored bust on display at the Spurlock Museum. MacNeil’s Lincoln bust is beautifully restored on public display in the Spurlock Museum

MacNeil’s 1915 “Lincoln” in Lincoln Hall

MacNeil’s ‘Adventurous Bowman’ atop the “Column of Progress.” None the structures and sculptures seen here remained after the PPIE colsed in 1915.

“Column of Progress” with MacNeil’s “Adventurous Bowman” as the finial figure on top.

MacNeil’s 12′ 8″ Washington (left ) on the Arch (illuminated at sunset)

General George Washington with Flags (U.S. and POW/MIA) ~ Washington Arch Greenwich, NYC (Photo courtesy of: Gibson Shell – 2011)

General George Washington ~ gloves in-hand and hand-on-sword

MacNeil's "Washington as Commander" with 'Valor' in profile to the right

This older photo shows the Arch when traffic was still allowed in the Square.

World War I Memorial – Flushing, New York by H. A. MacNeil

The Soldiers side of the monument

The Soldiers side of the Monument.

ROGER WILLIAMS bust by MacNeil at “Hall of Fame” in Bronx Comm. College ~ Photo Credit: Librado Romero/The New York Times ( http://www.nytimes.com/imagepages/2009/12/05/nyregion/05metjournal2_ready.html )

The companion figure to “Intellectual Development”

Further detail to Pat’s companion figure

The sculptor’s signature and date on “Pat”

“Pat” or “Intellectual Development” holds a septer bearing the initial “N,” as in Northwestern, with the owl poised for flight in front of Patten Gym.

“Physical Development” or “Jim,” for short, achieves victory over his opponent in front of Patten Gym at Northwestern University.

Ezra Cornell now interacts with Students through “Dear Uncle Ezra” website.

Hermon Macneil’s ‘green likeness’ of Ezra Cornel is what most students visulaze.

MacNeil’s Jolliete image of 1926.

MacNeil’s depiction of Marquette has the priest with an inviting open right hand and raising a cross above his heart.

Our trip was a satisfying success as our daughter took our pictures at hefoot of the Monument.

Chicagoans approaching the Monument along Marshall and 24th Avenue Boulevards are greeted by the Jesuit’s open hand.

MacNeil’s bronze sculpture of Marquette with an Ilinois Indian on his right hand.

Face of Jolliet from MacNeil’s 1926 Statue grouping of Marquette

Visit these links for further information on these ststues and monuments:

1912 – 1929

• 1912 “Into the Unknown” ~ Brookgreen Gardens, SC
• 1912 Orville Platt of Meriden, Connecticut
• 1912 Soldiers and Sailors Monument, Albany,NY
• 1915 “Column of Progress.” Panama-Pacific International Exposition ~ destroyed
• 1915 “The Signs of the Zodiac.” Panama-Pacific International Exposition ~ destroyed
• 1916 “George Washington” New York City
• 1916 Patten Gymnasium, Northwestern University, Evanston, IL
• 1916-30 “Standing Liberty Quarter” Types I & II
• 1918 “Ezra Cornell” ~Cornell University, Ithica, NY
• 1920 “Dwight L. Moody” – Bust at Mount Hermon Northfield Academy, Massachusetts
• 1924 Missouri Capitol, Jefferson City – “Privitive History of Missouri” – North Frieze of building
• 1925 “The World War” Flushing, NY
• 1926 “Manhattan Tercentenary Medal” ~ American Numismatic Society
• 1926 “Marquette, Jolliet, Ilini” Statue ~Chicago
• 1926 “Roger Williams” ~ NY University ~ Hall of Fame – bust
• 1927 Civil War Soldiers and Sailors Monument ~ Philadelphia, PA
• 1928 “Abraham Lincoln” Bust at Lincoln Hall, U of I, Urbana, IL
• 1928 “Rufus Choate” ~ NY University ~ Hall of Fame – bust
• 1928 MacNeil Clan of America ~ Memorial Plaque and Mounument
• 1928 “Abraham Lincoln” Bust at Rushville Public Library, Rushville, Illinois

SOURCES:

1. F. J. Mather argued that “Post-Impressionism is merely the harbinger of universal anarchy.” [1913, March 6, “Newest Tendencies in Art,” Independent 74, pp.504-512.] Cited in, On The Margins Of Art Worlds, By Larry Gross  p. ?
   
2. Kuhn, Lois Harris. The World of Jo Davidson. Farrar, Straus and Cudhay: New York, 1958.  p. 86 -87.
3. Marland Museum:  https://www.metmuseum.org/exhibitions/listings/2013/the-american-west-in-bronze/blog/posts/pioneer-woman
4. Here’s a 2010 Update on this Story:  2010 Ponca City duplicates 12 models:https://oklahoman.com/article/3455825/ponca-city-welcomes-back-one-dozen-pioneer-women